An original and hilarious take on motherhood from birth to the teenage years by desperate housewife and mother of three, Sonia Neale, who explains that children are irritating parasites who invade our homes and plunder our lives - and that somehow we still love and adore them more than life itself.
She can be anyone you want her to be. Vivian was raised with one purpose in life: to exact revenge on behalf of her mother. Manipulative and cruel, Mother has deprived Vivian not only of a childhood, but of an original identity. With an endless arsenal of enticing personalities at her disposal, Vivian is a veritable weapon of deception. And she can destroy anyone. When it’s time to strike, she enrolls in a boarding school on the English moors, where she will zero in on her target: sweet and innocent Ben, the son of the man who broke Mother’s heart twenty years ago. Anyone…except for the woman who created her. With every secret she uncovers, Vivian comes one step closer to learning who she really is. But the more she learns about herself, the more dangerous this cat and mouse game becomes. Because Mother will stop at nothing to make sure the truth dies with her.
"The vengeance of mothers" explores the bonds among family and community, the search for identity and belonging, during a time of tumultous change in our nation's history. What is a "native" American? Are all men and their wives created equal? How far wil Margaret and her countrywomen go to fight for what's theirs, and what's already gone?
Revenge: Narcissistic Injury, Rage, and Retaliation addresses the ubiquitous human wish to take revenge and settle scores. Featuring the contributions of eleven distinguished mental health professionals, it offers a panoramic and yet deep perspective on the real or imagined narcissistic injury that often underlies fantasies of revenge and the behavioral trait of vindictiveness. It describes various types of revenge and introduces the concept of a ‘good-enough revenge.’ Deftly blending psychoanalysis, ethology, religious studies, literary criticism, and clinical experience, the book goes a long way to enhance empathy with patients struggling with hurt, pain, and desires to get even with their tormentors. This volume is of great clinical value indeed!
A pageturning, emotional read for fans of Linda Green and Jill Childs Are there secrets that should never be told? If so, how far must a mother go to keep them? Tessa Parker runs a successful B&B in a seaside town. During a surprise visit, a long-lost aunt lets slip a family secret with devastating consequences. Navigating her own turmoil at a crucial moment in her children's lives, Tessa's search for her birth father forces her to decide who she really wants to be. But now her son is missing. Has she left it too late to be a good mother? This ebook edition contains extra book club discussion questions penned by the author.
From Carrie and Rosemary's Baby to Us, Hereditary, and Run, the image of the mentally ill mom as villain looms large in the horror genre. What do these movies communicate about mothers living with mental illness, and how do these depictions affect them? Portraying mentally ill moms as problems to be overcome, often by their own children, perpetuates harmful stereotypes with potential real-world consequences, such as the belief that these women are unfit to bear or raise children. More compassionate representations are needed to lessen the social stigma associated with the mentally ill. Fortunately, some of the contemporary horror films are attempting to achieve that task with critical success. Using case studies from a broad range of films--including the classic, campy, slasher, or prestige--and placing them within their historical context, this work extends conversations about horror and mental illness, such as post-partum depression, bulimia, Munchausen by proxy syndrome, and others. Highlighting the trope of the mentally ill mother as a pervasive image within the genre furthers examination of how these films challenge or reflect existing stereotypes and illustrates how horror can be both a site of oppression and a source for positive transformation.
Perelberg is well known and respected psycotherapist and is associate editor of the NLP Very little has been written on violence, as opposed to aggression and very little clinical material has been published on violent patients. Very distinguished list of contributors
While the image or construct of the “good mother” has been the focus of many research projects, the “bad mother,” as a discursive construct, and also mothers who do “bad” things as complicated, agentic social actors, have been quite neglected, despite the prevalence of the image of the bad mother across late modern societies. The few researchers who address this powerful social image point out that bad mothers are culturally identified by what they do, yet they are also socially recognized by who they are. Mothers become potentially bad when they behave or express opinions that diverge from, or challenge, social or gender norms, or when they deviate from mainstream, white, middle class, heterosexual, nondisabled normativity. When suspected of being bad mothers, women are surveilled, and may be disciplined, punished or otherwise excluded, by various official agents (i.e. legal, medical and welfare institutions), as well as by their relatives, friends and communities. Too often, women are judged and punished without clear evidence that they are neglecting or abusing their children. Frequently they are blamed for the marginal sociocultural context in which they are mothering. This anthology presents empirical, theoretical and creative works that address the construct of the bad mother and the lived realities of mothers labeled as bad. Throughout the volume, the editors consider voices and acts of resistance to bad mother constructions, demonstrating that mothers, across time and across domains, have individually and collectively taken a stand against this destructive label.
"The play of words" examines the dynamics of interfamilial violence in the Oresteia. It argues that the key element of the play's discourse about violence is to be found in the inquiry for a definition of Clytemnestra's motherhood. The failure of this research challenges the reader with some open questions: who is Clytemnestra? Where is justice if a mother dies? By reading the play's narrative on interfamilial violence and matricide as a narrative of uncertainties in terms of the role of the mother figure, this book illustrates the complexity of the maternal role of Clytemnestra. It also breaks silence among scholars, who have generally portrayed Clytemnestra as the bad mother who kills the children's father and as the bad wife who betrays her husband.